One of the most talented painters in the Dutch Golden Age , 1632-1675 was a Dutch Baroque painter who specialized in exquisite, domestic interior scenes of ordinary life. Vermeer was a moderately successful provincial genre painter in his lifetime. He seems never to have been particularly wealthy, perhaps because he produced relatively few paintings, leaving his wife and children in debt at his death. Vermeer worked slowly and with great care, using bright colours, sometimes expensive pigments, with a preference for cornflower blue. He is particularly renowned for his masterly treatment and use of light in his work. What strikes in most of his paintings is a certain love, which easily could be called a love sickness, for the people and the objects in his paintings. He created a world more perfect than any he had witnessed. After having been virtually forgotten for nearly one hundred years,   Related Paintings of Johannes Vermeer :. | A Young Woman Seated at the Virginal with a painting of Dirck van Baburen in the background | Mistress and maid | The Wine Glass | Girl with a Pearl Earring, | View on Delft. |
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Sebastian Stoskopff
Strasbourg 1597-Idstein 1657 was an Alsatian painter. He is considered one of the most important German still life painters of his time. His works, which were rediscovered after 1930, portray goblets, cups and especially glasses. The reduction to a few objects, which is characteristic of early still life painting, can again be recognized in Stoskopff's painting. His chief works hang in Strasbourg and in Saarbr??cken. Sebastian Stoskopff was born in 1597 in Strasbourg. His father was employed by the city since 1590 and acted as a mounted courier or royal escort, driving a one-horse-carriage. In 1614, Stoskopff's father asked the Strasbourg council for help for his 17-year-old son. He wanted him to be able to learn the craft of painting, since Sebastian had already been extremely talented in drawing and painting since he was 15. The council agreed to provide their support and probably sent the young artist at first to the Strasbourg painter and copper engraver, Friedrich Brentel. However, he only learned how to further refine his drawing and was not, as hoped, introduced to the art of painting. In 1615, Stoskopff's father died and his widowed mother went to the Strasbourg council once again to ask for support for training from a recognized painter. Stoskopff was then sent to Daniel Soreau, a painter who was active in Hanau. In the beginning, Soreau was not very enthusiastic, since he usually chose his apprentices from among his relatives and close friends. However, he finally complied with the request of the council and assured them that would "make an Albrecht Derer of this apprentice". There is not a single definite picture by Daniel Soreau existing. It is only possible to draw conclusions about how well the master passed on his artistic skills to his students through the works of his sons, other apprentices of his workshop and through Stoskopff's works. After Soreau's death in 1619, Stoskopff took over his workshop with the apprentices, as well as his function as the master. One of the apprentices was Joachim von Sandrart, who later became a successful painter and who wrote the first important work on the history of art in the German language: "Teutsche Academie der Bau-, Bild,- und Malerey- Kenste". This work contains descriptions of the lives of earlier and contemporary artists, including descriptions of the time in Hanau with his master, Sebastian Stoskopff. After his attempt to get permission to settle in Frankfurt failed, Stoskopff went to Paris. He stayed there from about 1622 until 1639, which can be reconstructed from indirect reports and property inventories of Parisians. His first works in larger format were also created here, such as "Summer" or "Winter" (now both in Strasbourg).
Maler, Hans
Austrian, Active 1500-29
Tommaso Minardi
1787-1871 Italian painter, draughtsman, teacher and theorist. He studied drawing with the engraver Giuseppe Zauli (1763-1822) who imbued Minardi with his enthusiasm for 15th-century Italian art and introduced him to his large collection of engravings after the work of Flemish artists such as Adriaen van Ostade. However, Minardi was strongly influenced by the Neo-classical painter Felice Giani, who ran a large workshop in Faenza, and whose frescoes of mythological scenes (1804-5) at the Palazzo Milzetti he saw being painted. In 1803 he went to Rome on an annual stipend provided by Count Virgilio Cavina of Faenza (1731-1808), and he received (1803-8) additional financial assistance from the Congregazione di S Gregorio. He was given the use of Giani's studio and through him met Vincenzo Camuccini who, with Canova, dominated the artistic establishment in Rome at that time. Although Minardi learnt the precepts of Neo-classicism from Camuccini, he did not share his interest in heroic art. His first works done in Rome show his interest in the theme of master and acolyte. In Socrates and Alcibiades (1807; Faenza, Pin. Com.), for example, he has included himself among a group of elderly philosophers and young students who are placed on either side of a portrait bust of Zauli. He sent this drawing to his patrons, the Congregazione di S Gregorio, no doubt to reassure them of his aptitude and moral correctness. Supper at Emmaus (c. 1807; Faenza, Pin. Com.) was another painting destined for the same patrons. The confined pictorial space, with a single source of light entering through a small window, and the casual poses of the figures are reminiscent of Flemish art and of the works of the northern Caravaggisti, familiar to the artist through engravings.